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the crassness of this reactionary thriller is matched only by the ridiculousness of its premise .

. . . too slow , too boring , and occasionally annoying .

it 's both a necessary political work and a fascinating documentary . . .

the only upside to all of this unpleasantness is , given its labor day weekend upload , feardotcom should log a minimal number of hits .

even though many of these guys are less than adorable ( their lamentations are pretty much self-centered ) , there 's something vital about the movie .

it is not the first time that director sara sugarman stoops to having characters drop their pants for laughs and not the last time she fails to provoke them .

not a strike against yang 's similarly themed yi yi , but i found what time ? to be more engaging on an emotional level , funnier , and on the whole less detached .

the phone rings and a voice tells you you 've got seven days left to live . then you get another phone call warning you that if the video is n't back at blockbuster before midnight , you 're going to face frightening late fees . o . k . , not really .

thoroughly enjoyable .

an exhilarating experience .

candid and comfortable ; a film that deftly balances action and reflection as it lets you grasp and feel the passion others have for their work .

in questioning the election process , payami graphically illustrates the problems of fledgling democracies , but also the strength and sense of freedom the iranian people already possess , with or without access to the ballot box .

worth catching for griffiths ' warm and winning central performance .

the fly-on-the-wall method used to document rural french school life is a refreshing departure from the now more prevalent technique of the docu-makers being a visible part of their work .

newcomer helmer kevin donovan is hamstrung by a badly handled screenplay of what is really an amusing concept M-^V a high-tech tux that transforms its wearer into a superman .

it trusts the story it sets out to tell .

a thinly veiled excuse for wilson to play his self-deprecating act against murphy 's well-honed prima donna shtick .

there 's no emotional pulse to solaris . with an emotional sterility to match its outer space setting , soderbergh 's spectacular swing for the fence yields only a spectacular whiff .

the acting , costumes , music , cinematography and sound are all astounding given the production 's austere locales .

the film 's appeal has a lot to do with the casting of juliette binoche as sand , who brings to the role her pale , dark beauty and characteristic warmth .

the issues are presented in such a lousy way , complete with some of the year 's ( unintentionally ) funniest moments , that it 's impossible to care .

director dirk shafer and co-writer greg hinton ride the dubious divide where gay porn reaches for serious drama .

almost nothing else -- raunchy and graphic as it may be in presentation -- is one-sided , outwardly sexist or mean-spirited . and in a sense , that 's a liability .

moody , heartbreaking , and filmed in a natural , unforced style that makes its characters seem entirely convincing even when its script is not .

an ebullient tunisian film about the startling transformation of a tradition-bound widow who is drawn into the exotic world of belly dancing .

by presenting an impossible romance in an impossible world , pumpkin dares us to say why either is impossible -- which forces us to confront what 's possible and what we might do to make it so .

it 's young guns meets goodfellas in this easily skippable hayseeds-vs . -greaseballs mob action-comedy .

there 's surely something wrong with a comedy where the only belly laughs come from the selection of outtakes tacked onto the end credits .

the movie fails to portray its literarily talented and notorious subject as anything much more than a dirty old man .

. . . begins with promise , but runs aground after being snared in its own tangled plot .

a richly imagined and admirably mature work from a gifted director who definitely has something on his mind .

it is the sheer , selfish , wound-licking , bar-scrapping doggedness of leon 's struggle to face and transmute his demons that makes the movie a spirited and touching occasion , despite its patchy construction .

with elements cribbed from lang 's metropolis , welles ' kane , and eisenstein 's potemkin , the true wonder of rintarM-t 's metropolis is the number of lasting images all its own .

a sterling film - a cross between boys do n't cry , deliverance , and ode to billy joe - lies somewhere in the story of matthew shepard , but that film is yet to be made .

if there was any doubt that peter o'fallon did n't have an original bone in his body , a rumor of angels should dispel it .

best of all is garcia , who perfectly portrays the desperation of a very insecure man .

this 72-minute film does have some exciting scenes , but it 's a tad slow .

the best thing i can say about this film is that i ca n't wait to see what the director does next .

it is interesting and fun to see goodall and her chimpanzees on the bigger-than-life screen .

overall , it 's a pretty mediocre family film .

a seriously bad film with seriously warped logic by writer-director kurt wimmer at the screenplay level .

a beautiful , entertaining two hours . you get the idea , though , that kapur intended the film to be more than that .

there 's back-stabbing , inter-racial desire and , most importantly , singing and dancing .

i found the ring moderately absorbing , largely for its elegantly colorful look and sound .

the major problem with windtalkers is that the bulk of the movie centers on the wrong character .

well-written , nicely acted and beautifully shot and scored , the film works on several levels , openly questioning social mores while ensnaring the audience with its emotional pull .

the characters are complex and quirky , but entirely believable as the remarkable ensemble cast brings them to life .

moretti 's compelling anatomy of grief and the difficult process of adapting to loss .

nicholson 's understated performance is wonderful . as warren he stumbles in search of all the emotions and life experiences he 's neglected over the years .

M-^Ean eerily suspenseful , deeply absorbing piece that works as a treatise on spirituality as well as a solid sci-fi thriller .

the cold and dreary weather is a perfect metaphor for the movie itself , which contains few laughs and not much drama .

rarely has a film 's title served such dire warning .

a clash between the artificial structure of the story and the more contemporary , naturalistic tone of the film . . .

that death is merely a transition is a common tenet in the world 's religions . this deeply spiritual film taps into the meaning and consolation in afterlife communications .

a film really has to be exceptional to justify a three hour running time , and this is n't .

much of this slick and sprightly cgi feature is sufficiently funny to amuse even the most resolutely unreligious parents who escort their little ones to megaplex screenings .

the thriller side of this movie is falling flat , as the stalker does n't do much stalking , and no cop or lawyer grasps the concept of actually investigating the case .

while some will object to the idea of a vietnam picture with such a rah-rah , patriotic tone , soldiers ultimately achieves its main strategic objective : dramatizing the human cost of the conflict that came to define a generation .

trailer park magnolia : too long , too cutesy , too sure of its own importance , and possessed of that peculiar tension of being too dense & about nothing at all .

a tv style murder mystery with a few big screen moments ( including one that seems to be made for a different film altogether ) .

i found myself growing more and more frustrated and detached as vincent became more and more abhorrent .

a dark , dull thriller with a parting shot that misfires .

. . . post-september 11 , `` the sum of all fears `` seems more tacky and reprehensible , manipulating our collective fear without bestowing the subject with the intelligence or sincerity it unequivocally deserves .

. . . one of the more influential works of the 'korean new wave ' .

nonsensical , dull `` cyber-horror `` flick is a grim , hollow exercise in flat scares and bad acting .

the situations and jokes are as predictable and as lowbrow as the endless pratfalls the boys take in their high heels .

it is a kickass , dense sci-fi action thriller hybrid that delivers and then some . i have n't seen one in so long , no wonder i did n't recognize it at first .

the best revenge may just be living well because this film , unlike other dumas adaptations , is far more likened to a treasure than a lengthy jail sentence .

. . . nothing scary here except for some awful acting and lame special effects .

weird , vulgar comedy that 's definitely an acquired taste .

this is what imax was made for : strap on a pair of 3-d goggles , shut out the real world , and take a vicarious voyage to the last frontier -- space .

if the predictability of bland comfort food appeals to you , then the film is a pleasant enough dish .

most of the action setups are incoherent .

unspools like a highbrow , low-key , 102-minute infomercial , blending entrepreneurial zeal with the testimony of satisfied customers .

director ferzan ozpetek creates an interesting dynamic with the members of this group , who live in the same apartment building . but he loses his focus when he concentrates on any single person .

both awful and appealing .

preaches to two completely different choirs at the same time , which is a pretty amazing accomplishment .

as commander-in-chief of this film , bigelow demonstrates a breadth of vision and an attention to detail that propels her into the upper echelons of the directing world .

talk to her is so darned assured , we have absolutely no idea who the main characters are until the film is well under way -- and yet it 's hard to stop watching .

it 's been 20 years since 48 hrs . made eddie murphy a movie star and the man has n't aged a day . but his showboating wise-cracker stock persona sure is getting old .

although melodramatic and predictable , this romantic comedy explores the friendship between five filipino-americans and their frantic efforts to find love .

the tone is balanced , reflective and reasonable .

does a good job of establishing a time and place , and of telling a fascinating character 's story .

'cq may one day be fondly remembered as roman coppola 's brief pretentious period before going on to other films that actually tell a story worth caring about

a gob of drivel so sickly sweet , even the eager consumers of moore 's pasteurized ditties will retch it up like rancid crM-hme brM- { lM-ie .

disreputable doings and exquisite trappings are dampened by a lackluster script and substandard performances .

is it possible for a documentary to be utterly entranced by its subject and still show virtually no understanding of it ?

serving sara should be served an eviction notice at every theater stuck with it .

what 's at stake in this film is nothing more than an obsolete , if irritating , notion of class .

there 's a neat twist , subtly rendered , that could have wrapped things up at 80 minutes , but kang tacks on three or four more endings .

proves that a movie about goodness is not the same thing as a good movie .

tries too hard to be funny in a way that 's too loud , too goofy and too short of an attention span .

enriched by a strong and unforced supporting cast .

the kind of trifle that date nights were invented for .

only in its final surprising shots does rabbit-proof fence find the authority it 's looking for .

despite the film 's bizarre developments , hoffman keeps us riveted with every painful nuance , unexpected flashes of dark comedy and the character 's gripping humanity .

the chateau is a risky venture that never quite goes where you expect and often surprises you with unexpected comedy .

what makes the movie work M-^W to an admittedly limited extent M-^W is the commitment of two genuinely engaging performers . weaver and lapaglia are both excellent , in the kind of low-key way that allows us to forget that they are actually movie folk .

a trite psychological thriller designed to keep the audience guessing and guessing -- which is not to be confused with suspecting -- until it comes time to wrap things up and send the viewers home .

offers a guilt-free trip into feel-good territory .